प्रियदर्शिका नाटिका (सम्राट हर्षवर्धन - चतुरङ्क शास्त्रीय नाटिका सान्वय सटीक)

pp. 46–47. 33 [ Act IV.
he has been taken a captive by the accursed king of
the Kalingas. It is not proper, therefore, for your
husband, who is his neighbour and powerful, thus to
observe indifference on hearing of this undesirable
occhrrence.
MANORAMA'.—Friend Kânchanamâlâ, but who read
the letter to the Queen when, indeed, it was ordered by
our lord that the matter should not be communicated
by any one to Her Highness.
KA'NCHANA.—As I remained silent after reading it
to myself, the Queen took it from my hand and read it
herself.
MANORAMA'—Then go you; here is the Queen sitting
with the very lady in the upper ivory chamber.
KA'NCHANA.—I will go there to the Queen. (Exit).
MA'NORAMA'.—It is a long time since I came leaving
Ar'anyikâ. The poor girl is quite tired of her life.
Something disastrous might perchance happen. So I
will go just there. (Exit.)
(Enter seated VA'SAVADATTA' in distress, SA'MKRITYA'YANI
and the retinue in order of rank.)
SA'MKRIT.—Princess, away with agitation. Vatsarâja
is not such. How can Vatsarâja rest unconcerned on
knowing very well that the husband of your mother's
sister is in such a plight?
VA'SAVADATTA'.—Holy lady, now you are extremely
simple-minded. What can he, who has nothing to do
with me, have to do with one connected with me? It
was meet for my mother to write to me about this.
But she does not know that Vâsavadattâ is not such now
(as she was before). This A'ranyikâ affair again
has been witnessed by you with your own eyes. How
do you say this then?
SA'MKRIT.—Since it was witnessed by me, for that
reason I say so. He surely acted that way at the
Kaumudî festival to make you laugh (enjoy the fun).
VA'SAVA.—Holy dame, this much is true here. I
was so made to be laughed at that it is with difficulty

[Act IV. ] 34 pp. 57-48.
-that I stand before your reverence through shame. So
why continue that topic ? Surely it is by this partiality
that I have been raised to such a high level (reduced
to this state). (Weeps).
SA'MKRIT.—Do not weep, Princess. Vatsarâja is not
such (as would remain indifferent). (Looking about). Or
why ; here comes he who will himself remove your
sorrow.
VA'SAVA.—These are now your ladyship's fancies !
(Enter KING and VIDUSHAKA).
KING.—Friend, what is the way now to get my beloved
released ?
VIDU.—Friend, give up your dejection. I will tell you
the way.
KING.—(With joy) Friend, mention it very quickly.
VIDU.—Friend, in the first place you are distin-
guished by your two arms that have proved their valour
in conflicts with your enemies in many a battle ; and
again rendered more powerful by (or, and again possess)
an irreistable army consisting of numerous elephants,
horsemen and foot-soldiers. So having now hardpressed
the harem with the whole bulk of your forces, set
Aranyikâ free.
KING.—Friend, you have advised what is impracti-
cable.
VIDU.—What is impracticable in this (since there is
surely not a single man there save the hunch-backs,
dwarfs, and the old chamberlain.
KING.—(Despisingly) Fool, what nonsense yon talk !
Excepting the Queen's favour there is no other means
to procure her release. So tell me how I shall gain
the Queen's favour.
VIDU.—Sir, support your life observing a month's
fast. Thus will the fierce Devi (wrathful Queen) be
pleased.
KING.—(Smiling) Do not joke. Tell me how I should
propitiate the Queen ?

pp. 43-50. 35 [ Act IV
'Shall I, being bold, obstruct her (course) standing,
before her and smiling, clasp the dear one at the neck ?
Or shall I cause her to be delighted by framing a speech
couched in hundreds of flattering expressions ? Or shall
I remain with folded hands having fallen before the
Queen at her feet ? Truly, truly, I know not how the
Queen's conciliation is to be effected. (1).
Come then; let us go into the Queen's presence.
VIDU'.-Go you, yourself. As for me I have come
just now having escaped from confinement with
difficulty. So I will not go.
KING.-(Smiling and clasping him by the neck, makes
him turn back by force.) Fool, come on. (Walking
round and looking on.) Here is the Queen sitting in the
centre of the ivory-chamber. I will approach her.
(Approaches abashed).
(Vāsavadattā' rises from her seat languidly).
Why have you left your seat ? away with this hurry
to show respect to me. It is not proper thus to stand
for me, O you with your waist wearied (thereby).
Why is this person, who is won over by the favour of
the mere casting of a glance, made to feel abashed by
excessive courtesy ? (2).
VĀ'SAVA.-(Closely observing his countenance.) Husband,
you are now abashed (in deed) !
KING.-My dear, I am really abashed. For, although
my guilt was visibly seen, I am endeavouring to appease
you.
SĀ'MKRIT.-(Pointing to a seat.) Sire, please sit down.
KING.-(Pointing to a seat.) Let the Queen sit here.
VĀ'SAVA.-Sits on the ground.
KING.-Oh, the Queen has sat on the ground. I too
will sit just here. (So sitting on the ground, with folded
hands.) Beloved, be pleased, be pleased. Why do you
cherish this deep-seated anger, when I have thus bowed
to you ?
O you with bewitching eyes, you do not knit your
brows, but simply weep again and again ; with your
T. 4

Act IV. ] 36 pp. 50-51.
lower lip not much quivering you heave sighs without
cessation; you do not give a reply, but remain with
your face hung down in deep meditation: your
suppressed anger greatly pains me like a hidden stroke
(i. e. wound caused by it). (3)
My beloved, be pleased.
VA'SA.—You are surely very happy. Why do you now
torment an afflicted person? Rise, who is angry here?
SA'MKR.—Get up, sire; what is the use of this?
Quite different is the cause of her affliction.
KING.—(In haste.) Revered lady, what is that other
cause?
(SA'MKRITYA'YANI whispers it in the ear.)
KING.—(Laughing.) If so, away with sorrow. I too
knew it. But I did not say (anything about it) thinking
that I should greet the Queen after the purpose had
been accomplished. Otherwise how could I remain un-
concerned in this Dhriḍhavarma matter? So several
days have elapsed since tidings about it reached (here).
This is the state of things there.
With his outward territory overrun by our forces
led by Vijayasena, and his power destroyed, the
accursed Kalinga, rendered helpless, has been forced
to seek protection from the rampart after having at
once entered his fortress. (4)
And him, Kalinga, thus situated—, rendered powerless
by our attack as described above, with the activities of
his warriors and servants decreasing day by day, and
having his entire army routed as his elephants, horses
and men are falling so as to be destroyed—, you will hear
before long, O revered lady, as being either captured
or slain in the battle, when in a day or two his fortress
is levelled down from all sides by our forces. (5)
SA'MKRIT.—Princess, I told your ladyship, at the
earliest, that Vatsarāja would not remain without
making a counter move.
VA'SAVA.—If so, that is gratifying to me.

pp 51-52. 37 [ Act IV.
(Enter Portress).
PORTRESS.—Prosperity, prosperity to your Majesty!
Here is Vijayasena, accompanied by Drdhavarman's
Chamberlain, waiting at the door, with his eyes
expanded through joy and wishing to communicate
something agreeable.
VA'SAVA —(With a smile) Revered lady, as I guess
I am entirely compensated (lit., satisfied) by my lord.
SA'MKR.—I am, indeed partial to Vatsarāja! So I
say nothing.
KING.—Quickly ask them to come in.
PORTRESS.—I will. (Exit).
(Enter VIJAYASENA and the CHAMBERLAIN.)
VIJAYA.—Dear chamberlain, at the thought that I
am to see my master's feet to-day, I am truly ex-
periencing an ecstasy of joy, indescribable and beyond
comparison.
CHAMBER.—This is true. See—
Even ordinarily (lit., otherwise) a servant is filled with
joy on beholding his master : how much more then must
be he who has fully carried out the responsible task
entrusted to him by his lord, by routing the enemy's
forces? (6)
BOTH.—(Approaching.) Victory, victory, to our master!
(The KING embraces them both).
CHAMBER.—Sire, my congratulations to you.
Having slain the cursed Kalinga at your Majesty's
command, Vijayasena, the conqueror of the foes, has
set our master on the throne. (7)
VA'SAVA.—My revered lady, do you recognize this
chamberlain?
SA'MKR.—How shall I not recognize him? Surely
this is he by whom your aunt sent the letter to you.
KING.—A momentous business has been accomplished
by Vijayasena.
(VIJAYASENA falls at his feet).
KING.—Queen, I congratulate you. Drdhavarman
has been reinstated on his throne.

Act IV ] 38 pp 52-53
QUEEN.—(With joy.) It is a favour to me.
VIDU.—At the time of such good fortune, this must
be done in this royal palace—(Pointing to the KING and
acting playing on the lute) worship of the Preceptor,
(showing his sacred thread) honour to a Brahmana ;
(indicating ARANYIKA) and the release of all in
custody.
KING —(Aside, with a fillip) Well done, friend, well
done !
VIDU —Madam, how is it that you do not pass any
orders in this case.
VASAVA —(Looking at SAMKRITYANI, with a smile)
The knave has, indeed, got Aranyaká out of prison.
SAMKR —What is the use of keeping the girl in
custody ?
VASAVA —Just as your reverence likes.
SAMKR —If so, I myself will go and set her free.
(Exit)
CHAMBERLAIN —Here is another message sent by
Drdhavarman—By your favour everything has been
accomplished as desired. So this my life is yours (at
your disposal), you have the right to use it as you please.
(The KING remains with his face hung down through
modesty)
VIJAYASENA.—Sire, it is not possible at all to describe
the great affection Drdhavarman feels for Your Majesty.
CHAMBERLAIN —(Continuing) And although pain was
caused to me that there was no alliance formed with
you on account of the loss of my daughter, Priyadarsiká,
who was affianced to you, still the same has been
removed by you as the husband of Vásavadattá.
VASAVA —(Tearfully) Noble chamberlain, how was
my cousin lost ?
CHAMBERLAIN —Princess, when in the course of the
attack by the accursed Kalinga the inmates of the
harem had fled here and there I took her who was
fortunately seen by me, and thinking—'It is no longer
advisable to stay here now', started to come to

pp. 53–55. 39 [Act IV.
Vatsarāja. Then after due consideration I committed
her to Vindhyaketu's care and went away. Just as I
returned I found the place made, along with Vindhya-
kètu, a matter of memory by some people.
KING.—(With a smile.) Vijayasena, what do you say
(to this) ?
CHAMBERLAIN—There although I searched for her
I did not find her. And from that time to this day it
is not known where she is—
(Enter MANORAMA').
MANORAMA'.—Your Highness, the poor girl is in
danger of life.
VA'SAVA'.—(Weeping.) What! Do you know what has
happened to Priyadars'ana' ?
MANORAMA—Certainly I do not know what has
happened to Priyadars'ana'. This A'ranyiká here drank
the poison brought to her under the guise of wine and
is in peril of life. This is what I humbly said So your
Highness should save her. (Falls at her feet weeping).
VA'SAVA'.—(To herself.) Oh fie, fie! my grief for
Priyadars'aná has been hidden (eclipsed) by this
account of A'ranyiká. People are, to be sure, extremely
wicked. They might, perchance, mis-judge me. So
this is proper to be done in this case. (Loudly and
with concern.) Manoramá, bring her quickly just here.
My husband who has learnt the art of poison-curing
in the world of the Nàgas is an expert in this matter.
(Exit Manoramá; then enter Aranyiká, supported by
Manoramá, and exhibiting herself as suffering from the
effects of the poison.)
A'RANYIKA'.—Dear Manoramá, why are you leading
me into darkness?
MANORAMA'.—(With dismay.) Alas, alas! Her sight
also is affected by the poison. (To Vāsavadattá)
Mistress, quickly save her, quickly save her. The poison
has affected her seriously.
VA'SAVADATTA'.—(Taking the KING by the hand, in

Act IV. ] 40 pp 55-56.
agitation.) Rise, rise, my lord. The poor girl is fast
dying.
CHAMBERLAIN.—(Observing her.) She surely resembles
very much our princess, Priyadarśikā. (Referring to
VĀSAVADATTĀ.) Princess, whence is this maiden?
VĀSAVA.—Sir, she is Vindhyaketu's daughter, brought
here by Vijayasena after slaying him.
CHAMBER.—Whence could he have a daughter. This
is the same, my princess. Alas! I am undone, a luck-
less man! (Falling on the ground and rising up.)
Princess, this is that Priyadarśikā, your cousin
VĀSAVA'.—Husband, save her, save her. My cousin
is dying.
KING.—Be calm, be calm. Let me see first. (Aside)
Pity, oh pity!
The bee in its course went to drink the lotus bud
having abundant floral juice formed in it; and at the
same time it was scorched up by the frost having
suddenly fallen on it. When fate is adverse desires
bear no fruit. (8)
(Aloud) Manoramā, ask her if she has consciousness.
MANORAMĀ.—Friend, are you conscious! (Shaking
her again, with tears.) Friend, I say, I ask you if you are
conscious.
PRIYADAR.—(Indistinctly.) I say, even such as I am,
I did not see His Majesty. (With this half-uttered she
falls on the ground.)
KING.—(With tears, aside.)
She is closing this pair of her eyes (but) the quarters
have been dark to me; her throat is choked; these
words of mine escape me with difficulty; her breathing
has stopped (lit. is taken away); my body has become
paralysed (lit. come to be in a state of motionlessness);
I think the effect of poison only is hers; but mine is
all the affliction caused by it. (9)
VĀSAVA.—(Weeping) Priyadarśikā, rise, oh rise.
See; here is the King sitting. How is it that her con-
sciousness is also lost? What wrong have I done you

pp. 56-57. 41 Act IV.
unknowingly, angry at which you do not talk to me?
Be pleased, then, be pleased. Arise, arise. I will not
give offence again, Ah, cursed fate! What evil deed
was done by me now that my cousin is presented to me
reduced to this plight?
VIDU.—My friend, why do you stand like one bewil-
dered? This is not the time for dejection! Very
serious, indeed, is the working of the poison. So show
the power of your art.
KING.—This is quite true. (Looking at PRIYADARS'IKA'.)
I remained stupefied all this while. So I will restore
her to life. Water, water.
VIDU.—(Going out and coming back again.) O here is
water.
(The King advancing and placing his hand on
Priyadars'ika, acts the silent repeating of the incantation;
Priyad'arsika' slowly rises up.)
VA'SAVA.—My lord, thank God, my cousin has
revived.
VIJAYASENA.—Oh the power of his Majesty's know-
ledge!
CHAMBERLAIN.—Oh, unobstructed everywhere is the
power of His Majesty as Narendra (sovereign—
Poison-physician)!
PRIYADARS'IKA'.—(Slowly rising up and sitting, indicates
yawning, then with dejection indistinctly.) Manorama, I
have, indeed, slept long.
VIDU.—O friend, your skill as a physician has been
fully proved.
(PRIYADARS'IKA', gazing longingly at the KING stands up
bashfully, her face hung down a little.)
VA'SAVA.—Husband, why does she still act differently
(like one not fully restored to sense)?
KING.—(With a smile).
Since her eye-sight is not restored to its natural state,
her words are not very distinct; this her body reels,
with horripilation and the drops of perspiration clearly

IMPORTANT ABBREVIATIONS.
—oOo—
Ak., Amara.—Amarakośa.
Bg.—Bhagavadgītā
Bhav.—Bhartṛihari's Śatakas
(N. and V.).*
Bhaṭṭi—Bhaṭṭikāvya (I.—V.).*
Bṛih.-S—Bṛihatsaṁhitā.
Col. U. Ed.—Columbia Uni-
versity Edition of the
Play.
Cf.—Compare.
Ch.—Chapter.
Bṛ K. M.—Bṛhatkathāmañjarī.
Com.—Commentary; commen-
tator.
D. K.—Daśakumāracharita.
D.-R.—Daśa-Rūpaka.
Gīt.—Gītagovinda.
Hitop.—Hitopadeśa.
Kād.—Kādambarī.
Kathā.—Kathāsaritsāgara.
Kāv., K.-D—Kāvyādarśa.
K.-P.—Kāvyaprakāśa.
Kum.—Kumārasambhava.
(I—VII).
Mālav.—Mālavikāgnimitra.
Malli.—Mallinātha
Māl.-Mādh.—Mālatī-
Mādhava.
M.-S.—Manusmṛiti.
Megh.—Meghadūta*.
Mṛich.—Mṛichchhakaṭika.*
Mudrā.—Mudrārākshasa*,
Nāg.—Nāgānanda.*
Pañchar.—Pañcharātra of
Bhāsa.*
Priy.—Priyadarśikā.
Pt.—Pañchatantra.*
Ragh.—Raghuvamśa. (I.-X.)*
Rām.—Rāmāyaṇa.
Ratn.—Ratnāvalī.*
Ṛitus.—Ṛitusaṁhāra.*
S.—Sūtra.
Śāk.—Śākuntala of Kālidāsa.*
S.-D.—Sāhityadarpaṇa.
Sid.-Kau.—Siddhānta-
Kaumudī.
Śree—Śreenivāsachariar.
Śiś.—Śiśupālavadha.
Subhā.—Subhāshita.
Svap-Vās.—Svapnavāsava-
datta of Bhāsa.
Uttar.—Uttararāmacharita.*
Vārt.—Vārttika.
Veṇī.—Veṇīsaṁhāra.*
Vikr.—Vikramorvaśīya.*
Vikr.-Ch.—Vikramāṅkadeva-
charita of Bilhaṇa.
*Annotated by the Editor.

NOTES.
——————
ACT I.
P. 1. प्रियदर्शिका—Properly the name of the heroine; it then
metaphorically (by the metaphorical transference of an epithet
अभेदोपचार) signifies the play of which Priya. is the Heroine. The
poet's other play, Ratnâvalî, is similarly named.
Following the custom of previous writers the poet begins his
work with the usual Mangala, which consists of a salutation
to the favourite deity or a benediction, and which is believed
to have the power to remove obstacles in the way of, and to
lead to a safe completion, the work undertaken. This is techni-
cally called Nândî in the case of dramas. The efficacy of a
Mangala is thus stated by Patanjali in his Mahâbhâshya—
मङ्गलादीनि मङ्गलमध्यानि मङ्गलान्तानि च शास्त्राणि प्रथन्ते वीरपुरुषकाण्यायुष्मत्पुरुषकाणि
च भवन्त्यध्येतारश्च प्रवक्तारो भवन्ति । Śrîharsha has glorified Pârvatî
and Śiva in this play, as he has done in the Ratnâ. also. He pays
his veneration to Pârvatî first, owing to her being the more respect-
able of the two, as being the mother of the world (मातुरभ्यर्हितत्वात्
as remarked by Malli. in his com. on Ragh. I. 1.).
Śl 1. The śl. describes the emotion of Gaurî (Pârvatî) at
the time of her marriage with Śiva, wherein Brahmâ, as was
meet, was the officiating priest joining their hands. Cf. Śiva
Pu.—ब्रह्मा सर्वं च तत्रत्यं कारयामास वै तदा । आवाहनं तथा पाद्यं सर्वं च विधिपूर्व-
कम् ॥......... संस्थाप्याग्निं पुनस्तत्र वैवाहमकरोद्विधिम् ॥ &c. Construe—करग्रह-
विधौ धूमव्याकुलदृष्टिः पुनः इन्दुकिरणैः आह्लादिताक्षी उत्सुका वरं पश्यन्ती भूयः ब्रह्मणः
ह्रिया आनतमुखी पादनखेन्दुदर्पणगते गङ्गां दधाने हरे सेर्ष्या स्पर्शाद् उत्पुळका गौरी वः
शिवाय अस्तु ।
धूमव्या०—The smoke was due to the offerings made into the
fire that witnessed the match; for the offerings cf. हविःशमीवृक्षलता-
जगन्धी पुण्यः कृशानोरुदियाय धूमः । Ragh. VII. 26. व्याकुल pained or
disturbed. This was because the bride is required to inhale the
smoke. लाजाहोमं कृत्वा धूममाजिघ्रेत् इति गृह्यविदः । Cf Ragh. VII. 27.
आचारधूमग्रहणाद्बभूव (वृद्धाचाराद्धूमग्रहणमित्येके); see Kum. VII. 81. and
cf. for the smoke Par. p. I. 1. इन्दुकिरणैः—When she looked
up the pain was removed by the soothing rays of the moon on
Śiva's head. उत्सुका—This description is rather conventional.
The bride is anxious to see her husband and gets the first
opportunity to see him after the removal of the cloth held
between the two when the Mangaḷâshtakas are over. But in

2
Gauri's case she had already seen S'iva before the marriage
ह्रिया--She felt shame for fear of being observed by Brahmá who
was there serving as the uniting priest. आनत०—may also be
separated as नत०. भूयोह्न्रिया may also be taken as a comp. word
(through excessive shame); but this is not very satisfactory.
सेर्ष्या--Full of jealousy; for she saw Gangá on the head of S'iva's
image as mirrored in her bright nails. At first she had not
seen her as she dared not look long at S'iva in the presence of
Brahmá. Párvati is often represented as jealous of Gangá regard-
ed as her co-wife. Cf. Mud. I. 1; तद्युक्तं वधूपार्श्वं मम पुरो निर्लज्ज-
योद्युताय; Ratná. I. śl. between 2 and 3. पादनखेन्दु०—For comp.
see com.; the double comparison is rather unpoetic. Strangely
enough Sans. poets represent the nails of fine ladies (and also of
men) as lustrous enough to take in images. Cf. तिङ्मणिमुकुरपुटेन
........अनुचेनाह्वत इव चरणनखेषु निपपात । Kád. p. 292.
स्पर्शोत्पुलका—The standing of the hair on end caused by touch
is one of the eight Sátvika Bhávas (or involuntary manifesta-
tions of strong feeling). It is considered as the first outward
indication of love and is often referred to by poets; cf. Vik. I.
11; Kum. VII. 77 (रोमोद्गमः प्रादुद्भूदुमायाः), Ragh. VII. 22. &c.
Cf. with this śl. आदौ वेगफणायिता हरमुखव्यापारलोला शनैर्ब्रीडाभारविघूर्णिता
मुकुलिता तूष्णीदमव्याभृतः । पत्युः संमिलिता दृशा सरभसव्यापर्तनव्याकुला पार्वत्याः
परिणतिमङ्गलविधौ दृष्टिः शिवायास्तु वः ॥ Pár. p 1. l. 1. कैलासाद्रौ &c.—The
reference here is to Rávana's lifting up the mountain Kailása when
it was shaken to its foundation, causing alarm to Párvatí and others
who lived on it. To quiet Párvati's fear S'iva pressed down the
mountain with his foot and Rávana escaped being crushed under
it only by pacifying the deity. This is also constantly referred
to by poets; cf. कैलासशिखरेण दशमुखीमपूतनखोन्निपातिता; Kád. p. 211;
समुत्सिपन्धः पृथिवीभृतां वरे शरप्रदानस्य चकार शूलिनः । असमुपाराद्धिसुताससंभ्रम-
स्वदोर्महाक्षेपसुखेन निष्कयम् ॥ Sis.' I. 50; गावा चोर्ध्वं दशमुखभुजोच्छ्वासितप्रस्थसन्धेः
कैलासस्य &c. Meg. I. 61; see also Rámá, Uttar. K. canto XVI.
Construe उद्गस्ते कैलासाद्रौ सचलति सति गणेषु सत्रासकौतुकेषु सत्सु, कुमारे मातुः
क्रोडं विशति सति विभूषने सरोषं पश्यति सति पादाङ्गुष्ठे दशमुखे पातालमूलं याति
सति क्रुद्धोपि उमया भयघनम् आलिङ्गितः अतः तुष्टः शिवः वः पातु.

• उद्गस्ते—Trown or torn up. गणेषु—The gaṇas are the atten-
  dants of Śiva, being a race of demigods called Pramathas and are
  under the superintendance of Ganeśa, one of the demigods. They
  are thus described in the Káliká P.—विचित्रकुसुमाभरणा जटाश्चन्द्रार्धमण्डि-
  ताः । आकाशमार्गे गच्छन्तमब्रुवञ्छान्ति निग्रहाः ॥ ध्यानस्थं परिचर्यन्ति ललिताङ्गिमिरौ-
  श्वरम् । मानाशस्त्रधराः शम्भोर्गणास्तु प्रमथाः स्मृताः ॥ &c. सत्रास०—Their

curiosity was roused by the sudden shaking of the mountain.
कुमारे—Kārttikeya, when an infant. विशति—i. e. through fear.
विषमुचि—The serpent on the body of Śiva. Śiva is described as
having huge serpents on his person, coiled round his neck, or
arms, &c; cf हित्वा तस्मिन् भुजगवलयं शंभुना दत्तहस्ता Meg. I. 63; करेण
शम्भोर्वलयीकृतद्विजिह्वा Kum. V. 66. श्मशानचारी सततं व्यालाभरणभूषणः Śiva P.
P. 2. पादावष्टम्भ०—पादेन अवष्टम्भः—supporting i. e. steadying
it by the (pressure of the) foot., तेन; or पादस्य अवष्टम्भः the firm
planting of. Śiva planted his foot firmly on the mountain to
make it steady, which pressed down Rāvaṇa and-hence सीदद्वपुषि
whose body was pained or afflicted. पाताल०—He was sinking
down to the surface of Pātāla under the pressure exerted on the
mountain by Śiva's foot. क्रुद्ध—He was angry that his moun-
tain should have been torn up and his peace disturbed. आविर्भू-
तधृतिः असन्तुष्ट—For idea cf. the śl. from Śiś. quoted above.
नान्द्यन्ते—नान्दी is the stanza or stanzas of benediction. For its
difinition see com.; it is derived as नन्दन्ति देवता अस्यामिति नान्दी; fr.
नन्द् and aff. घञ् (अ) with the fem ई added. Another way is—
आशीर्वादादिना नन्दयतीति नन्दः; नन्द एव नान्द्यः by adding अ (अण्) स्वार्थे
(प्रज्ञादिभ्योऽण् ); ततः स्त्रियां ङीप्. As the drama developed the
cumbrous preliminaries of the prelude (पूर्वरङ्ग) were dispensed
with, नान्दी the most important of them being retained. It then
formed an essential part of the prologue. This Nāndi is of
four kinds, viz. नमस्कारात्मिकाऽऽशीर्वाचिकी चासौ. वस्तुवती तथा । नान्दी चतुर्धा निर्दिष्टा
नाटकादिषु धीमद्भिः ॥ The subject matter of the plot ought to be
slightly indicated in the Nāndī; and it is done in the present
Nāndī also. Thus धूमध्वजः suggests Priya.'s long sorrow caused
by her own state and her father's overthrow by the Kalinga-king.
इन्दुकिरणैः &c.—refers to the delight caused to her eyes by the
sight of the king and later of her father's chamberlain. पश्यन्ती
पदं refers to her looking longingly at the king Vatsa, and her
desire for a union with him. आनतमुखी shows that she had to
observe reserve for concealing her love from the Queen and her
servants. The second śl. refers to Dṛḍhavarman's overthrow
and his being restored to power again by the interference of
king Vatsa; as also to the queen's anger and her final reconcili-
ation with him. See com.
नान्द्यन्ते सूत्र०—supply आह, ब्रूते or some such word to complete
the sense. Now the question arises—Who recited the Nāndī?
If the Sūtra., according to the precept,—सूत्रधारः पठेत्तत्र मध्यमं
स्वरमाश्रितः । नान्दीं पदैर्द्वादशभिः &c. (Nāt. Śā. V. 98), his
name should have preceded the ślokas of the Nāndī.

4
Two explanations are offered. The name of the Sūtra. is not
put first because nothing but auspicious words can begin a work.
Cf. in this connection the Sutra of Pān. वृद्धिरादैच् which begins his
अष्टाध्यायी (and not अदेङ्गुण् like अदेङ् गुण ). The other is—The
Sutra or manager of the पूर्वरङ्ग recited the Nándi. And he having
retired, the manager of the play (नाटकस्य सू०) entered and began
the play. But as the discussion is immaterial to the ordinary
reader we do not further enter into it here.
सूत्रधार—The chief manager of the play, who held as it were
the threads of the business of the play. He assigned to the
various actors the parts they were to play, instructed them and
took a leading part in the prologue.
वसन्तोत्सवे—The vernal festival seems to have been one of the
occasions on which plays were publicly staged. The spring
festival was formerly celebrated from about the middle of the
bright half of Chaitra to the full moon day to mark the return
of spring, when Kāmadeva or the god of love was worshipped
with great pomp. According to some, the festival began from
the 5th of Māgha and lasted for about two months. It is now
identified with the Holi festival in which people of all grades of
society mix with one another and make merry. The Bhavish-
yottara Purāna gives a full description of this, for which see
Wilson's H. T. p. 264. The passage from अद्य तु to सर्वो गुणानां
गणः is almost the same in all the three plays of the poet, with
इन्द्रोत्सवे instead of वसन्तोत्सव (which is an optional reading there
also) in the Nagananda.
श्रीहर्ष—For Harsha see Introd., देवस्य-देव fr. दिव् to shine
originally meant one shining or brilliant, then it came to mean
'a god' (Lat. deus), and lastly came to be added to the names
of kings as a term of respect and greatness, cf. Vikramadeva,
Vikramānkadeva, &c. पादपद्मो०—living or subsisting by (the
support of) the lotus like-feet &c.—a respectful way of saying
—the humble servants or vassals of. राजसमूहेन—This refers
especially to the eighteen kings that owed allegiance to Harsha
and his two allies the king of Valabhi and Bhāskaravarman,
king of Prāgjyotisha (Assam). अपूर्व—goes with रचना, such
as has not been shown before, novel, extraordinary. We cannot
take अपूर्व as qualifying वस्तु as the theme of the play was not
invented by the poet. रचना is the skilful arrangement of the
various parts and incidents leading to a charming end. The poet
means that he has borrowed the theme but presented it in a new

comp., as मनोहारि, हृद्यहारि; Then: Letter 1:तwithु(तु) Letter 2:टे? Wait, is it त्रुष्टे? Wait, could it be तुष्टे? Yes, तुष्टेis very clear. Then:वwithि=वि षwithट=ष्ट र=र हwithा=हा रwithि=रि णwithी=णी -(hyphen) L37:हरहरो(orहरहरी?) Wait, look at the last letter of हरहरो: It has a vertical bar after 'र', and a top slant stroke. That is 'ो'! So it is हरहरोorहरहरौ? Wait, look at the first letter: ह? Or द? Wait, is it दरहरो? द र ह र ो` -> "दरहरो"!
Wait! दरहरो?
Wait, what does "दर" mean? "दर" means a little, or fear!
Wait, what about "तुष्टे"?
Wait, look at: "तुष्टे विष्टरहारिणी दरह

8
19th in succession from Janamejaya, which appears to be more
probable. Mahâsena, also called Chanda-Mahâsena, the king of
Ujjayinî, had a daughter of exquisite beauty, named Vâsavad-
attâ, whom he wished to give in marriage to Vatsarâja.
(According to another account to a king named Sanjaya,
see the quotation, from Mâl. Mâd. below.) With this
object he enticed Udayana to his city and kept him a
captive there. Being engaged to teach music to Vâsavadatta
he gained her heart and by the advice of his minister Yaugand-
harâyana managed to escape with her to his capital. They
were afterwards married in great pomp. For the full account
see Kathâ Lambaka II tar. 11, 12. हारि चरित—This
is proved by the various references to his name, cf.
प्राप्यावन्तीनुदयनकथाकोविदग्रामवृद्धान् । Megh. I. 30, प्रद्योतस्य प्रियदुहितरं
वत्सराजोऽत्र जह्रे । Ibid. I. 33; उत्तेजवापि सदृशं परिक्षेपणाय यौगन्धरायण
इवोदयनस्य राज्ञः । Mṛch. IV 26. वासवदत्ता च राज्ञे संजयाय पित्रा दत्तमत्मान-
मुदयनाय प्रायच्छत् । Mâl. Mâd. II. नाट्ये—नाट्य here means dramatic
representation. वयम्—by this he refers to himself and the other
actors. वस्तु—a thing, an item. this is different from वस्तु in
अपूर्ववस्तुरचना above. एकैक—एक repeated is to be taken as a Bah.
comp. (by एकं बहुव्रीहिवत् । Pan. VIII. 1. 9) and dissolved as
एकमेकं, the case term. of the first word being dropped in being
compounded. फल—is here reputation and money. पदं—an
abode, i. e. source of. पुन—implies पक्षान्तर (what then when
&c.) मद्भाग्येय—Here he refers to himself as he is the principal
person concerned. गुणानां—Favourable circumstances, advantages.
Cf. एकैकमध्यनर्थाय किमु यत्र चतुष्टयम् । Hit. I.
This śl. is quoted in the Sâh. D. and D—R. as an instance of
प्ररोचना (or that which attracts the attention of the audience to
the representation by a commendation of the poet, the play, the

• Mahâsena though an enemy of Udayana, wished to give his
  daughter Vâsavadattâ in marriage to him, but doubting if he would
  accept her, he thought of the following expedient for bringing
  about the union. Seeing that Udayana spent his days and nights in
  the forests he thought of making him a prisoner, and with this view
  he caused a wooden elephant to be made and concealed some armed
  men in it. It was then placed in the forest. When Udayana came
  across it, the armed men came out and seeing him alone seized and
  made him a prisoner. He was then brought before Mahâsena who
  gave his daughter Vâsavadattâ in his charge and told him that he
  would be set at liberty when he gave his daughter instructions and
  training in music (गान्धर्वविद्या). Gadre.

7
proficiency of the actors, &c.) one of the angas of भारतीवृत्ति, which
is thus defined—निवेदनं प्रयोज्यस्य निर्देशो देशकालयोः । काव्यार्थसूचकैः शब्दैः
सभावाञ्छितरञ्जनम् । कविकाव्यनटादीनां प्रशंसा च प्ररोचना ॥
नेपथ्याभि०—Towards the curtain or screen ( that separated the
tiring room behind the stage from the stage itself. अये—shows
surprise. –नान्द्युद्यते–engaged in, busy with; this reminds one of
Bhâsa, who begins some of his plays with अये कथं or किमु खलु
विज्ञापनाव्यग्रे, मयि ( see Svap., Pancha., Mad. Vyâ, &c. ). अङ्गाधि०—
For Anga, see Introd. दृढवर्मणः—does not seem to be the name of
a real historic personage. It is probably invented by the poet.
भूमिका—part. अस्मद्भ्राता—In the Ratnâ, also the younger brother
of the Sûtra. is introduced as assuming the character of
Yaugandharâya

8
the power arising from an efficient army and a good treasury
( स प्रभावः प्रतापश्च यत्तेजः कोषपुण्डजं Amara ); मन्त्रश० or the power aris-
ing from good counsel ( i. e a wise ministry ) and उत्साह or the
personal energy of the king. रघो०—रघु० was the celebrated son
of Dilipa, नल king of Nishada—names well known to the Indian
student. प्रार्थ्यमाना—earnestly sought, solicited. बद्धानु०—who
entertained a deep feeling of resentment. रन्ध्रान्वेषी—who found
a loop hole, i. e a weak point as Vatsarâja was not expected
to come to Dṛdh's assistance. पुलिन्द०—For पुलिन्द see Introd,
पुलिन्दानां जनपदानां राजा पुलिन्दः स चासौ हतकश्च । परमार्थ—To speak
the truth, truly. उपपन्न—Although come to pass or happened,
a fact. यथाकथञ्चित्—Lit as circumstances would permit, some-
how. अनृण—Free from debt. He believed that his master had
contracted a debt as it were, when he promised to give his
daughter in marriage to king Vatsa and that he ( Kanch )
would free him from it by taking the princess to king Vatsa.
अभ्यस्कन्दसम्भ्रम—The flurry and confusion caused by the attack,
the comparison to प्रलयकाल shows that the attack was sudden and
caused terrible havoc. अपवाह्य—The object is तां (राजपुत्रीं). आट-
विकस्य—अटव्यां भवः आटविकः ruling over a forest tract, a forest
king. विन्ध्यकेतोः—Vind. seems to have been a petty king as
he was so easily routed. अगस्त्यतीर्थ—appears from the context
to be some holy place in the Vindhya regions, near the hermitage
of Agastya described by Bana in his Kâda. An Agastyatîrtha,
a place of pilgrimage, is located in the province of Tinnevelly
in the extreme south of India. निहत्य—Having attacked.
दस्युभिः—By marauders or robbers. दस्यु is one of the old Vedic
words ( a class of demons or enemies of gods and men, slain by
Indra ) that remain in classical Sans. प्रद्योतः—Another name of
Mahâsena or Chanda mahâ. so say the commentators on Kâli 's
Meg. I. 34 wherein there is a reference to this king—प्रद्योतस्य
प्रियदुहिता वत्सराजस्य जह्रे) and this appears to be correct from Bhâsa's
Svap Vâ. According to the Kathâ, Pradyota was the king
of Magadha and a person different from Mahâsena. The name
of his daughter also was Padmâvatî. See Kathâ XV. 19. 20
and our note on प्रद्योत at Meg I. 34. कौशाम्बी—the capital of
the Vatsa country, was once a flourishing city, though now
remaining as an insignificant village. See Intro.
P. 5. जर्जरीकृत—Hacked or terribly disabled by, mangled.
सफलीविधासि—सफलय् a denom. from सफलं ( सफलं करिष्यामि ). शारदा-
तपस्य—The autumnal heat is described as very fierce. संश्राण—
Hot, burning.

:
Line 37: "Cf. नौपृष्ठे"
Line 38: "धोरि धर्मोय सर्वभिमेतहेतवे ।; and Mah. Bhār."
Wait! "धोरि धर्मोय सर्वभिमेतहेतवे ।;" ??
Wait! Look at the quote:
Mahābhārata quote:
"त्रिवर्गोयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममूलं वदन्ति ।"
(This is a well-known quote from Mahabharata, Shanti Parva:
त्रिवर्गोऽयं धर्ममूलो नरेन्द्र राज्यं चेदं धर्ममूलं वदन्ति ।)
Now, what is the quote before it?
"Cf. ..."
What is "... धर्मोऽयं सर्वाभिमतहेतवे"?
Wait!
"सर्वभिमेतहेतवे" -> सर्वाभिमतहेतवे!
Wait, what precedes it?
Is it: "गौरिव पृष्ठे धूर्धोरि धर्मोऽयं..."?
Wait! "धूर्धोरि"? "धौरेय"? "धुर्य"?
Wait! Let's look at the letters at the end of line 37:
"Cf. नौपृष्ठे"
Wait, could it be:
"नृपृष्ठे"? No.
"गौः पृष्ठे"?
Wait, look at the first letter:
It has two diagonal strokes on top (au matra):
Wait, no, is it

पुत्र forms the second member ( षष्ठ्या आक्रोश । पुत्रेऽन्यतरस्याम् । Pân.
VI. 3. 21, 22 ); lit.—a whore's son, used humourously by the
Vidû. as a term of contempt; that cursed ( imprisonment ). It
is used with persons or with inanimate objects as here; cf. एते
दास्या पुत्रा अर्थकल्लवन्तः &c. Mṛch. I. p. 13. खत्खलायमान०—This
and the other epithets apply to the king as well as to the गजपति.
खत्खलायमान is the pres p of the Âtm. verb formed from खत्खल an
onomatopoetic word, by adding य ( क्यङ् ) A final आ ( डाच् ) is
added to the final half of a word indicating sound when the word
consists of at least two syllables; and words ending in आ take
the denom. aff य ( क्यङ् ) by लोहितादिडाभ्यः क्यष् । Pân. III. 1. 13.
For comp. see com प्रतिस्खलत्—stumbling at evey step. शून्य०—
शून्य properly lonely, solitary (शूना प्राणिवधाय हितं रहस्यस्थानत्वात् ), fr.
शूना animal slaughter and aff. य ( यत् ); here (1) शून्य without
animation, dejected, मुखपुष्कर lotus like face or countenance; (2)
शून्य dry, devoid of moisture मुखं cavity यस्य तादृशं पुष्कर the tip of
the trunk; तेन पिशुनितः indicated, हृदयसंतापो यस्य. The passage here
is somewhat obscure. Mr. Gadre following Jîv.'s ed reads शून्यदुष्कर
( दुःखर ) पिशुनहृदय०; but as remarked by him, it is difficult to
assign a meaning to this. It is explained as शून्यं unaffected by
any feeling दुष्करं experiencing pain, ( दुःखर v. l. दुःखं राति इति ) विशु-
नवत् indicating internal affliction ( अन्तःसंतापसूचकं ) यद् हृदयं तस्य
संतापो यस्य. But this is not satisfactory. शून्यदुष्करहृदयसंतापः v l.
is also equally unintelligible. It may be explained as शून्यश्चासौ
दुष्करहृदयसंतापश्च. उत्थंभित—raised and fixed upwards. गुरुकर—(1)
huge arms, (2) large trunk. अधिगतधरणीपृष्ठ.—v l. (1) lying on
the bare ground, (2) throwing himself on the surface of the earth.
अनिद्रासुखं—may also be taken as an adv. comp.; अविद्यमाने निद्रासुखे
यस्मिन्कर्मणि तद्यथा तथा । It is also explained as निद्रासुखस्याभाव अनिद्रा-
सुखे ( अर्थाभावेऽव्ययीभाव. ). The reading of the Mad. ed. निद्रासुखं न
प्राप्नोषि is easier. अनुवाचयसि—may mean—you repeatedly
spoke of. वसन्तक—This name occurs in the Rat. also and is
taken from the story of Udayana.
Śl. 7. चारकं—also mas, a prison; see Das ch. p 59 निगल—
same as निगड a chain, fetters, ल may be substituted for ड The śl.
shows how the impression made on the king's mind by the
charms of Vâsa. quite overshadowed the hardships of imprison-
ment. And this was a fact, cf. तस्य दृष्ट्वा तु तां कन्यां वत्सराजस्य मानसम् ।
तथा स्नेहाक्रममभूद्यथा मन्युमृक्षत । Kathâ II. 4 29. समर्थे—Because
he thought that he could here hit the king on his own ground.
Mark the pun on the word पद्मावति.